Word: austrian
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Dates: during 1920-1929
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...Farrar left the Metropolitan. Greatest publicity has been given to an alleged row with Maria Jeritza, new Austrian import then, because Jeritza was given certain of Farrar's roles. But Farrar and Jeritza never met, the latter admired the U. S. singer tremendously, went often to hear her. The truth was that Farrar, sole relic of the Conried star system, was getting bits of discipline from the management. She herself was tired out, vocally, spiritually. The death of her mother had been difficult for her. There had been the divorce from Cinema-Hero Lou Tellegen* whom she married...
...distinguished visitors were met at the station by the leaders of the Austrian governmental hierarchy. A state luncheon followed, at which the German statesmen were formally introduced to Dr. Michael Hainisch, President of the Austrian Republic. In the evening the Chancellor, Dr. Ignaz Seipel, opened the old Imperial Foreign Office, also known as the Ballplatz, for an official reception...
However, it was reported that Dr. Stresemann complained of Austrian obstruction at Geneva. Particular dissatisfaction was voiced with Count Mensdorff-Pouilly, the Austrian League representative and Autro-Hungarian Ambassador to the Court of St. James's until the War. He, a distant relative of King George, was accused of being too pro-British and of having refused to accept the German viewpoint in several important issues. Dr. Stresemann plainly wanted to know if it were not possible for Austria and Germany to pull together in the League-no doubt with the idea of pushing the anschluss through, "when...
...What the Austrian Chancellor's attitude was to this proposal was not divulged, but an idea of it may be gleaned from the rumor, emanating from official circles, that Count Mensdorff-Pouilly will soon resign and be replaced by a prominent Pan-German, i. e., one who favors the anschluss...
...Midsummer Night's Dream. The U. S., home of the huge, agreed that Max Reinhardt, Austrian, was the master of spectacle when he wove the wonder of The Miracle in 1924. Disapproving this restrictive distinction, he recently closed his Berlin and Vienna theatres, and bundled actors, scenery, costumes, to Manhattan to show his skill at smaller things. His first production was far from small, but it was delicate and true. Perhaps he started on a spacious scale in order to ease great expectations gradually down to subtler things...